Intimidad Romero @intimidad - Tumblr Blog

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En Rhizome ArtBase. http://rhizome.org/artbase/artwork/52447/ "Walter Benjamin’s warning toward the impact of mechanical reproduction (technische Reproduzierbarkeit) in society echoes today, more than ever, with the use of digital photography in social media and its inherent mass (re)production. In this context, taking pictures has become one of the most demanded activities by non-specialized public, perhaps, because today, more than ever, the e-image of one-self invades the space of self-construction. These practices lead to what, both, Kracauer and Barthes, defined as objectification of the subject through photographic procedures, provoking the disintegration between the public and private, the social and intimate. As Barthes argues “the ‘private life’ is nothing but that zone of space, of time, where I am not an image, an object” (1) . Contrary to this, it seems that nowadays life is lived through images and digital devices. In this sense, the only experiences that are worth having are those that are shown, shared, and “liked”. "Today, everyone is subjected to an aesthetic evaluation—everyone is required to take aesthetic responsibility for his or her appearance in the world, for his or her self-design. Where it was once a privilege and a burden for the chosen few, in our time self-design has come to be the mass cultural practice par excellence. The virtual space of the Internet is primarily an arena in which my website on Facebook is permanently designed and redesigned to be presented on YouTube—and vice versa. But likewise in the real—or, let’s say, analog—world, one is expected to be responsible for the image that he or she presents to the gaze of others. It could even be said that self-design is a practice that unites artist and audience alike in the most radical way: though not everyone produces artworks, everyone is an artwork. At the same time, everyone is expected to be his or her own author." (2) In this scopic regime the project “Intimidad Romero by Intimidad Romero” takes place by designing a personal profile in one of the most hegemonic social media, in order to develop an action that brings along a critique of the media inside the own media. As an inheritor of guerrilla communication, she uses the main socio-technical characters offered by the social media such as pseudo-anonymity, public exposure, and the use of photography as the major way of interaction, and guided by the principles of distanciation and over-identification, she introduces subtle modifications in the regular ways of representation in social media. Her Communicative Action 2.0 dissolves the boundaries between work and author, and presents herself as a self-designed piece of art. "Somehow, Intimidad is a metaphor and a metonymy of the limits of intervention and identity self-management in social networks… of our lives on the screen. Where we can abandon ourselves (or, on the contrary, take sides) in the ideation and collective construction of our imaginaries and subjectivities. Because what Intimidad does is to take sides in this construction, making visible the absence and what is at stake, the intimacy that -at the very last moment- resists to be shared; in disabled, faceless, blurred, 'emotionless' except for the context photos, as an aura without object, 'without' main-character." (3) In this way, Intimidad is configured as a faceless celebrity known for using her détournement intimate photos as the main source for social interaction in the web 2.0. Through her pictures, Intimidad understands the media not as a mere container but as an essential part in the self-design of identity in contemporary societies. This process reaches its highest point with the spectacularization of everyday life as a direct consequence of the effect produced by digital media and web 2.0 in the circulation of social images." Bernardo Villar | Daft Gallery

The event is curated by Fabio Paris for the Link Art Center, and organized with the help of four amazing collaborators: Chiara Chiarelli, Chiara Rigolli, Linda Rocco and Miriam La Rosa. Its done in collaboration with Gummy Industries and the festival MusicalZOO, with the support of Comune di Brescia, Fondazione Brescia Musei, University Cattolica del Sacro Cuore, Fondazione ASM and kindly sponsored by Pressytal. 6PM Your Local Time is a format by the Link Art Center, developed in collaboration with Abandon Normal Devices (AND), Manchester andGummy Industries, Brescia. The project is part of Masters Servers. Networked Culture in the Post-Digital Age, a joint project by Aksioma (SI),Drugo more (HR), Abandon Normal Devices (UK), Link Art Center (IT) and The Influencers (ES) that was awarded with a Creative Europe 2014 2020 grant. For 24 months from September 2014, Masters $ Servers will explore networked culture in the post-digital age. https://www.facebook.com/events/1087142634647987/ Spain ~ -Biofractal e-Museum -Intimidad Romero, Barcelona -Emilio Gomariz -Bernardo Villar , M0us310n.net -LABoral, Gijon -Cristina Garrido at L21 Gallery, Palma de Mallorca Austria ~ Station Rose at Kunsthaus Wien, Wien | Addie Wagenknecht Russia ~ Vasily Zaitsev Croatia ~ Igor Eskinja with Drugo More, Rijeka Cyprus ~ NeMe Arts Centre Czech Republic ~ Kuzor Kolektiv | Tereza Darmovzalov at PAF Festival of Film Animation, Jesenky Denmark ~ X and Beyond, Kbenhavn Estonia ~ Kilometre of Sculpture Finland ~ Monia Amoeba France ~ Annabelle Arlie and Pierre Clement | XPO Gallery, Paris | Evan Roth, Paris | Galerie Charlot, Paris | Miyo Van Stenis, Paris | Oracular/Vernacular, Marsiglia | Alexandra Pignol and Stephane Mroczkowski at Art Center Apollonia, European Art Exchanges, Strasbourg | Annie Abrahams Martina Ruhsam | Dustin Cauchi, Paris Germany ~ IOCOSE at Joo Cocteau, Berlin | Peter Beyls at DAM Gallery, Berlin | Annette Hnnekens, Garmisch | Sebastian Schmieg | Fritz Laszlo Weber | Aram Bartholl, Berlin | Constant Dullaart, Berlin | Florian Freier, Traunstein, Germany Greece ~ Christina Androulidaki, Athens Hungary ~ Adela Muntean and Fogarasi Hunor, Budapest Island ~ Mengi, Reykjavik | Einar Garibaldi Eriksson Reykjavik Italy ~ Elena Radice and Enrico Boccioletti, Milan | Mara Cassiani at Centrale Fies, Dro | Marco Cadioli, Milan | Roberto Fassone | Guido Segni | Metronom, Modena | Pastificio Cerere Foundation, Rome | Fondazione Mondo Digitale, Rome | Athur Cravan Foundation, Milan | Natalia Trejbalova | Elisa Giardina Papa at Island of Alicudi | BAAM, Milan | AplusB, Brescia | Bruno Muzzolini, Brescia | Filippo Minelli at Fondazione Francesco Fabbri, Pieve di Soligo | Carloalberto Treccani, Brescia | Giovanni Fredi from Shanghai, Cina | Tonylight, Milan | Museo di Castelbuono | Forte Marghera, Mestre | Label201, Rome | Spazio Ultra, Udine | Postinterface at University di Teramo | Vincenzo Marsiglia at Spazio ICAS, Crema | FOIL, Milan | Tea Andreoletti, Gromo | Paolo Branca at Jacques Bonhomme, Milan | Mauro Ceolin, Milan | Max Serradifalco, Palermo | Alberto Frigo, Valle delle Cascate | Giada Pelliccari | Barbara and Ale at B/A Studio, Saronno | G.A.P. Glurns Art Point, Glorenza | Alice Bachmann, Milan | Casa Museo Asger Jorn, Albissola Marina | The Cool Couple Alessandro Sambini at Forma Meravigli, Milan, Nik Barte and Antonio Comini, Milan | Nicola Evangelisti, Brescia | Montenegro ~ Iva Kontic, Podgorica The Netherlands ~ Jan Robert Leegte and Rosa Menkman | MU, Eindhoven | Peter Luining, Amsterdam | Martine Neddam (Mouchette), Amsterdam | Max Dovey for All Together Now, Rotterdam | MAMA, Rotterdam | UBERMORGEN.COM, Holdem Poland ~ Tymek Borowski | Oliwia Blawat Slovenia ~ Maja Smrekar at Aksioma, Ljubljana | Robertina Sebjanic, Ljubljana | Jernej ek Gerbec | Emil Kozole, Ljubljana | Borut Jerman Switzerland ~ HeK, Basel | Pier Giorgio De Pinto | Alan Bogana for Kunsthaus Langenthal | Adam Cruces, Zurich Sweden ~ Sachiko Hayashi, Fridensberg Turkey ~ Mixer, Instambul United Kingdom ~ Arcadia Missa, London | Five Years, London | amaCollective, London | Enclave, London | The Museum of Contemporary Commodities (MoCC) at Furtherfield, London | Zachary Eastwood-Bloom, London | Markus Soukup, London | Maciej Blazejewsk at London Metropolitan University, London | Jesse Darling | Dafna Ganani | AND at Somerset House, London | Simone Mons at Area51, London | Rory Laycock http://www.6pmyourlocaltime.com/events/europe-2/ http://www.linkartcenter.eu/archives/3580

http://www.artribune.com/attualita/2014/12/no-new-media-art-parte-pixxelpoint-2014/

Tarjeta de memoria | Memory Card Un proyecto realizado por los curadores Santiago Rueda Fajardo y Paula Acosta , que en primera etapa se expuso en el Mambo Museo de Arte Moderno de Bogotá Su segunda etapa se realizará en el MAV Museo de Artes Visuales de Bogotá Colombia

InterQué 2013 se celebrará el próximo viernes, 29 de noviembre, en La Casa Encendida de Madrid. *streaming http://www.rtve.es/

NOMINATED!

The Social Media Art Award will be assigned to an artist whose artwork is based on activities in social networks or reflects and comments on its way of communication and its production of meaning. The selected work will be presented during the festival. A selection of this nominated works will be presented at phaeno;no during the festival. The award ceremony will take place 23rd of September 2015, 7 p.m. at Phaeno. Germany Five works have been nominated ----------------------------------- -'Intimidad Romero', Intimidad Romero, Spain-Colombia -'Brautkleid', Francis Kamprath, Germany -'Pic-me', Marc Lee, Swiss -'Networked Optimization',Sebastian Schmieg and Silvio Larusso, Germany/Italy (Winners) -'Neozoon', Friederike Kersten, Germany/France -------------------------------------------- The jury members were: -Marcel Schwierin (Director of Edith-Russ-Haus for Media Art) http://www.edith-russ-haus.de -Andreas Broeckmann (Director Arts Program, Leuphana University L neburg) -Justin Hoffmann (Director of Kunstverein Wolfsburg) http://www.kunstverein-wolfsburg.de/aktuell/ -Monika Kiekenap-Wilhelm (Director of Kulturwerk) http://www.kulturwerk.de -Anita Placenti-Grau (Director of Institut Zeitgeschichte und Stadtpr sentation) http://www.wolfsburg.de http://phaenomenale.com

Adjugé! My first auction in Paris!!!!!My profile picture 1/20, Awarded!!

Many thanks to Franck Ancel and Blancs-Manteaux Auction, to my gallerist Bernardo Villar | www.daftgallery.com and of course to the collector. MAT # 01 Mouvement Art Technologie 1956-2016 http://goo.gl/XedEmj

Intimacy for Sale #01 | Ipad Screenshot *Facebook Update 9th December 2012 Medium: C-type Print, reverse-mounted onto 2mm acrylic glass. Dibond 3mm Dimensions: 14.7 x 19.7 cm. ( Ipad Screen Size) Edition of 20, accompanied by a signed and numbered certificate

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Privacy Exposed To Radiant Light | Rhizome.org by Prosthetic Knowledge "A collection of items from the Prosthetic Knowledge Tumblr archive and around the Web around the theme of privacy and surveillance. The projects listed below are tied to these themes in different ways: some take positions or raise questions on the new technological environments, some offer solutions for a world in which "just like the animals, we need to start adapting new ways to conceal ourselves from the autocratic predators" [source], while others collect and re-purpose ambient data in creative ways" Intimidad Romero by Intimidad Romero [...] Online identity performance comprising a public Facebook profile with personal photographs that are censored via pixelation. The project also offers an app with which to make your own censored photographs for sharing on social networks. [...] *LOve PK! Love Rhizome! Artists: User 632 by Undef Intimidad Romero by Intimidad Romero Desire of Codes by Seiko Mikami ZXX by Sang Mun The Pirate Cinema by Nicolas Maigret Interactive Robotic Painting Machine by Benjamin Grosser http://rhizome.org/editorial/2013/jun/26/prosthetic-knowledge-picks-privacy-exposed-radiant/

Selected by Hendrik Folkerts @100 Curators Collection | Saatchi Art (Curator of the Public Program Stedelijk Museum and Documenta 14) Thanks Hendrik for select a detail of my profile http://www.saatchiart.com/art-collection/Photography-Installation-New-Media-Art/100-Curators-Collection/34887

http://blogs.elpais.com/arte-en-la-edad-silicio/2012/05/el-rostro-de-las-redes-sociales.html "El retrato, género artístico por antonomasia, ha caracterizado todas las épocas de nuestra historia, pero ¿cómo nos retratamos a través de las redes sociales? Desde los albores de la humanidad la representación gráfica del rostro es una práctica ineludible, cuya interpretación ha ido cambiando con las tendencias socio-culturales. El siglo XXI y las nuevas tecnologías tampoco se escapan de esta tendencia, sobretodo en años marcados por la eclosión de las redes sociales, donde la identidad y presentación de los usuarios se basa en una eficaz, lograda y… muy estudiada “foto del perfil" Roberta Bosco y Stefano Caldana | El Pais Digital

En los años 90, cuando internet aún estaba en pañales, un grupo de artistas se percató de que tenían ante ellos "un campo ideal para el desarrollo de una práctica artística radicalmente inmaterial". Un espacio de experimentación en el que no importaba tanto la generación concreta de obras como la producción de procesos comunicativos. La nueva red permitía desarrollar experiencias que escapaban a las 'normas' del arte institucionalizado: era imposible exponerlas, comercializarlas, controlar su reproducción, poseerlas. O eso creían. La ilusión de estar fuera del sistema se esfumó cuando el 'establishment' acogió en sus muestras las primeras manifestaciones del llamado 'net art'. El mercado del arte demostró que "siempre sería capaz de extraer valor comercial" incluso de las obras más inmateriales. A pesar de esta habilidad para 'monetizar ideas', comercializar arte digital es una labor peliaguda: ¿Cómo se compra una realidad intangible? Si todos pueden acceder a ella, ¿a quién pertenece? Han pasado dos décadas desde entonces y la suma arte + internet sigue despertando recelos. Más aún desde que la Web 2.0 se ha convertido en un gran baúl con herramientas para crear y difundir 'obras' al alcance de todos. Prácticas en internet Su ámbito de desarrollo específico es la Red: las obras o experiencias son concebidas especialmente para este espacio. Dentro de esta categoría estaría el trabajo de Intimidad Romero, una artista que alimenta su perfil de Facebook exclusivamente con fotos pixeladas. Su propuesta llama la atención sobre la exposición pública de los usuarios de las redes sociales, la pérdida (voluntaria) de privacidad y las nuevas formas de 'pensar' la identidad y las relaciones personales. El proyecto Face to facebook de Paolo Cirio y Alessandro Ludovico sigue también esta línea: los autores recopilaron datos e imágenes personales de un millón de perfiles de la red social, y crearon un falso portal de citas en internet (Lovely faces). Como era de esperar, la compañía de Mark Zuckerberg no tardó en obligarles a cerrar la página, que denunciaba, entre otras cosas, la adicción digital y el trasfondo económico de Facebook. Prácticas que se nutren de internet Los creadores se alimentan de datos o archivos digitales, pero la obra toma forma en un entorno físico. En estos casos, "el artista es un recolector de materiales encontrados en la Red (conocido como 'internet surfer'), que hace remixes, mezclas de imágenes que no ha creado, pero que aglutina tratando de generar un discurso en torno a qué está haciendo internet con nuestras vidas". Jon Rafman, autor de 'Nine Eyes on Google Street View', colecciona las fotografías más extrañas que Google muestra en sus mapas a pie de calle. Desde 2007, una legión de vehículos de la compañía equipados con cámaras de 9 ojos recorre las calles del planeta registrando al detalle la superficie terrestre. Criticar la 'vigilancia invasiva' no es lo único que interesa persigue Rafman: el artista reivindica, además, la belleza de unas fotografías "que nadie tomó, recuerdos que nadie tiene". Otro ejemplo es la videoinstalación de Christopher Baker que ilustra este reportaje. 'Hello World! or: how I Learned to Stop Listening and Love the Noise' (¡Hola, mundo! o cómo aprendí a dejar de escuchar y amar el ruido) es una recopilación de vídeos colgados en internet de gente presentándose a cámara. Identidad, exhibicionismo... el debate está claro. ... El debate sobre lo que es arte o no se torna estéril una vez más. Especialmente en internet. "El arte es ante todo un ámbito de interpretación": un urinario como el de Duchamp, "desplazado a un contexto de significación artístico, deja de ser un objeto para las necesidades del cuerpo y se convierte en un objeto para las necesidades del espíritu", reflexiona Prada. "Si hubiese sido desplazado a un basurero sería basura. No significaría nada más que su propia ruina". E. Vasconcellos | EL Mundo http://www.elmundo.es/elmundo/2013/05/27/cultura/1369683236.html

ESTÉTICAS DEL AUTODISEÑO. Arte y Redes Sociales

un texto de Claudia Supelano-Gross

El uso extendido de las redes sociales ha derivado en procesos de autodiseñoen los que la imagen digital del sí mismo domina las dinámicas personales e interpersonales. Como consecuencia de estos procesos, conceptos como los de identidad, intimidad y cotidianeidad han sido resignificados en tanto que su entidad ya no viene dada por ser en el mundo sino por ser-en-la-red. Esto ha traído consigo no sólo la disolución de lo público y lo privado, sino también la cosificación del sujeto producto de la hegemonía de la imagen digital diseñada, donde la vida es vivida a través de dispositivos y las únicas experiencias que merecen la pena son aquellas que son mostradas, compartidas y gustadas. Todo ello deriva en una espectacularización de lo cotidiano que encuentra en el arte su mayor resistencia. Teniendo esto en cuenta, la presente ponencia busca analizar críticamente algunas de las prácticas artísticas más relevantes que tienen lugar en redes sociales 2.0, y que, mediante estéticas del autodiseño, buscan cuestionar, subvertir o burlar el impacto de la cultura digital en la vida cotidiana.

*Con los estudios de caso comparados de Petra Cortright, Amalia Ulman e Intimidad Romero. Autodiseño, Net-Art, Redes Sociales, Identidad, Intimidad, Reproductibilidad, Espectacularización, Estética de las Nuevas Tecnologías. Bibliografía destacada: Adorno, Barthes, Benjamin, Jose Luis Brea, Calvino, Debord, Didi-Huberman, Foster, Krauss, Groys, Buchloh, José Jiménez, Juan Martín Prada, Domingo Hernández Sánchez, José Luis Pardo, Perniola, Hito Steyerl, o Tiqqun entre otros

http://www.daftgallery.com/Esteticas_del_Autodiseno.pdf

fuente: http://festivaldelaimagen.com/wp-content/uploads/2017/07/Ponencia_Claudia_Supelano-Gross_XIII_Foro_Academico.pdf

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ADAF2016 | Digital Pop. Over the last few years, we experience a culture of excess where on one hand the overabundance of information has generated a wave of passive consumption and on the other has allowed many previously unseen trends and voices to emerge. Today, Pop may be as well defined by likes, shares, tweets, views or followers showing in a way the power of the people to decide about trends and attitudes but also highlighting the ephemerality of it, as the culture around us is changing at high speed. In that sense, we might as well say that what is considered Pop in 2015 might be outdated in 2016 and so on.

Back in 1963, Andy Warhol said that “everybody should be a machine” and that “everybody should like everybody”. Acting like machines or liking things is almost typical behaviour and part of the everyday digital routine. Digital culture is omnipresent. It has changed our way of thinking. It has changed our habits and behaviours. The techno-culture that once was odd and distant is now part of most human activities from entertainment, lifestyle, business to art and politics.

What is defined as Pop is characterised through the culture of here and now. The pleasure of sharing everyday life through online environments and digital devices manifests a new way of living where our collective identities and digital selves intersect. GIFs, memes, selfies, viral videos, the internet slang as well as sharing, posting, uploading, commenting are all practices that reflect the current cultural condition.

What kind of digital content do we consume and what culture do we create? How are we “feeding” today’s digital markets? How ephemeral is digital Pop culture? How has digital pop culture affected our daily lives? What kind of aesthetics have emerged? How do artists respond to the current condition?

#ADAF2016 12th Athens Digital Arts Festival | 19 - 22 May, 2016 Building Complex Gate Ermou 117 - 121 Historic Centre of Athens

http://2016.adaf.gr

LINE UP Constant Dullaart Systaime Ben Grosser TeYosh TheRealKarenEliot Alexander taylor Intimidad Romero Gašper Kunšič Liliana Farber Suwanna Ruayrinsaowarot George Crîngașu Bego M. Santiago Radamés Ajna and Thiago Hersan Circus Lumineszenz Adrian Flury Kuflex Kate Geck Martin Bricelj Baraga and Olaf Bender Pavel Karafiát Verba Manent Babis Alexiadis Nikoletta Lafka random quark Tom Chambers and Theodoros Papatheodorou Gašper Kunšič George Thenonas Alessandro Scali Marco Calabrese Stuart Pound Manja Ebert Derek Curry and Jennifer Gradecki Mia Middleton Esmeralda Kosmatopoulos Bram Snijders / Deframe Przemysław Sanecki Lorna Mills and more

*loving Foteini Vergidou

Mouvement Art Technologie MAT#01 1956-2016 AUCTION organisée par Franck Ancel

Artists: Fred Forest, Hervé Fischer ,USCO, Vera Molnár, Systaime, Intimidad Romero, Genco Gulan, Eduardo Kac, Jean-Paul Albinet, Martin Blaszko, Olga Kisseleva, Pierre Berger, Xavier Moehr, Hans-Walter Müller, Rolando Peña, Jacques Polieri, Volf Roitman, Antoine Schmitt, Nicolas Schöffer, Brian Gysin and Ian Sommerville, Valery Grancher, Jacques Donguy, Klaus Fruchtnis, Piotr Kowalski, Félix Lazo, Éric Michel, Cécile Le Talec, Émilie Gervais and more.

Dimanche 19 juin , 15h00 - Vente Live de 94 lots

Exposition publique : Samedi 18 juin, de 11h à 23h. Dimanche 19 juin, de 11h à 13h

MAT#01 include "Intimacy for sale #01" courtesy of www.daftgallery.com

Intimidad goes to HTMLLES 2016 | TERMS OF PRIVACY 3-6 NOV 2016 Montreal Canada

https://htmlles.net/2016/en/exhibition-studio-xx/

The HTMlles is produced by Studio XX, a bilingual, feminist artist-run centre for technological exploration, creation, and critique, founded in 1996. The festival began as an international platform for introducing women’s web art.

The HTMlles' three driving forces [art + technology + feminism] have since 1997 inspired and injected one another, and have creatively reflected on the past, present and future of our tech-oriented everyday life from a feminist approach.

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